MR.  RYAN'S 
COLLECTION 


/ 


N  E  W  YORK 
8    FIFTH   AVE  N U E 

i  9  2  I 


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MR.  RYAN'S  COLLECTION 


SCULPTURE 


A  Neapolitan  Marble  Bust. 

By  Francesco  Laurana.  XV  Century. 
One  of  the  most  important  portrait 
sculptors  of  the  quattrocento.  It  belongs 
to  the  most  beautiful  representations  of 
thoughtful  and  chaste  womanhood  which 
have  been  preserved  to  us  from  the  time 
of  the  Renaissance,  and  it  is  generally 
believed  to  represent  Beatrice  of  Aragon 
(daughter  of  King  Ferdinand  of  Naples), 
who  married  in  1476  King  Mathias  of 
Hungary 

Dr.  Bode  says  it  is  rightly  considered  one 
of  Laurana's  masterpieces. 

From  the  Castellani  and  Bardini  collec- 
tions. 

Exhibited  in  1920  at  the  Fiftieth  Anni- 
versary Exhibition  of  the  Metropolitan 
Museum  of  Art  in  New  York. 


[2] 


Neapolitan  Marble  Bust. 


XV  Century.  Artist  unknown,  attribut- 
ed to  Laurana,  but  doubtfully  so,  as  the 
author  of  this  bust  has  something  grand, 
something  energetic,  which  is  wanting  in 
Laurana.  It  is  much  more  likely  to  be  by 
the  second  great  sculptor  at  the  Courts 
of  Naples  and  Sicily,  the  well  known 
Pietro  da  Milano,  the  celebrated  medal- 
ist of  King  Rene  of  Anjou. 

From  the  Castellani  and  Bardini  collec- 
tions. 

Exhibited  in  1920  at  the  Fiftieth  Anni- 
versary Exhibition  of  the  Metropolitan 
Museum  of  Art  in  New  York. 

[  3  ] 

Marble  Relief. 

Madonna  and  Child.  By  Mino  da  Fie- 
sole  (1431-1484). 

From  the  Chapel  of  the  Villa  Gonfienti 
near  the  Prato. 


[4] 

Marble  Relief. 

Madonna  and  Child.  By  Antonio  Rosse- 
lino  (1427-1479).  A  great  work  of  this 
master. 

From  the  collection  of  Madame  Louchet, 
Lyon . 

[5] 

Marble  Relief. 

Madonna  and  Child.  Ascribed  by  Dr. 
Bode  to  Giovanni  Dalmata,  who  lived  in 
Rome  about  1475,  and  worked  with  Mino 
da  Fiesole.  Set  in  a  gold  mosaic  back- 
ground. 

[6] 

Marble  Relief. 

Madonna  and  Child.  By  Antonio  Rosjse- 
lino  (1427-1479) . 

From  the  Chapel  of  Bussy  d'Amboise 
castle,  belonging  to  the  Bussy  Rabutins. 


[7  ] 


PlETA. 


Executed  in  soft  Marble.  French  XV 
Century.  School  of  Michel  Colombe. 

It  comes  from  the  environs  of  Nimes,  and 
its  workmanship  reminds  one  very  much 
of  the  style  of  the  Biron  Monument  in 
the  Metropolitan  Museum  of  Art. 


Marble  Statuette. 

Saint  Sebastian.  Attributed  to  Antonio 


Two  Marble  Figures. 

By  Amadeo  (1447-1519).  Representing 
angels  in  attitudes  of  homage  and  prayer 
— of  great  delicacy  and  finish.  Amadeo 
became  chief  architect  of  the  Certosa  in 
1481,  and  about  this  time  made  a  fresh 
design  for  the  facade  of  the  Cathedral. 


[8] 


Rosselino  (1427-1479). 


[9  ] 


Among  the  figures  are  two  angels  which 
closely  resemble  the  above. 


[10] 

Marble  Frame. 

It  formed  the  entrance  of  a  Tabernacle, 
Attributed  to  Benedetto  da  Majano. 
Italian  XV  Century. 

[in 

Terracotta  Relief. 

Madonna  and  Child.  By  Donatello  (1386- 
1466). 

Described  by  Dr.  Bode  as  undoubtedly 
a  work  of  the  masters  own  hand.  He 
extols  the  nobility  of  style  and  dignity  of 
this  fine  work. 

From  the  Aynard  collection. 

[12] 

Limestone  Statuette. 

Saint  Matthew.  French  XV  Century. 


[13] 

Glazed  Terracotta  Relief. 


By  Luca  della  Robbia  (1400-1482).  Rep- 
resenting the  escutcheon  of  the  Ginori 
family  on  a  blue  background  held  by  a 
winged  cherub,  whose  head  is  particu- 
larly delicate  and  graceful  and  whose 
hands  are  exquisitely  modelled. 

From  the  Maurice  Kann  and  Sigismond 
Bardac  collections. 


Bas-Relief. 

Madonna  and  Child.  In  white  glazed 
terracotta.  Ascribed  to  Luca  della  Robbia 
(1400-1482). 


Glazed  Terracotta  Relief. 

Pieta  by  Andrea  della  Robbia  (1469- 1529.) 
High  relief  enamelled  in  colors. 
From  the  Lanna  collection. 


[  14] 


[16] 


Colored  Terracotta  Figure. 

The  Infant  Christ.  By  Matteo  Civitali 
(1435-1501). 

This  figure  originally  formed  part  of  a 
group  of  the  well-known  subject  'The 
Crib'  (Presepio). 

[17] 

Terracotta  Statuette. 

Ky  Desiderio  da  Settignano  (1428-1464). 
Figure  of  the  Infant  Christ,  holding  an 
orb  in  the  right  hand  and  the  left  hand 
raised  in  the  act  of  blessing . 
From  the  Wm.  M.  Laffan  collection, 

[18] 

Carved  Wood  Polychromed  Statuette. 

Representing  Saint  Martin  cutting  his 
coat.  He  is  wearing  a  red  cap,  and  a 
doublet,  and  his  feet  are  shod  in  pointed 


shoes. 

School  of  J  org  Syrlin  of  Ulm  (1425- 
1492) . 

[19] 

Two  Carved  Wood  Polychromed 
Statuettes. 

Saint  Barbara  and  Saint  Catherine. 

French  XV  Century.  Champagne  school. 
Saint  Barbara  is  represented  in  a  blue 
gown  and  a  red  mantle  and  is  wearing  a 
hat.  She  is  leaning  against  a  tower. 

Saint  Catherine  is  represented  in  a  blue 
dress,  and  is  wearing  a  crown.  In  one 
hand  she  is  holding  a  book,  and  in  the 
other  a  sword.  These  are  the  emblems 
appertaining  to  the  martyrdom  of  Saint 
Catherine  of  Alexandria. 

Ar^^       120*1  Tr 

Wax  Relief. 

Madonna  and  Child.  Renaissance  pe- 
riod, by  an  unknown  artist. 

<  ^° 


BRONZES 


[  21-22  ] 

Santa  Teresa  D'Avila. 

San  Pedro  D'Alcantara. 

By  A lonzo  Cano.  Spanish  XVI  Century. 
These  bronzes  match  each  other  and  orig- 
inally belonged  to  the  same  altar.  They 
are  the  work  of  Alonzo  Cano,  surnamed 
//  Racionero,  and  represent  Santa  Teresa 
of  Avila  and  San  Pedro  of  Alcantara,  who 
were  living  at  the  same  time  in  the  same 
country. 

[  23  ] 

Bronze  Crucifix. 

School  of  Giovanni  de  Bologna.  XVI  Cen- 
tury. An  important  and  very  fine  speci- 
men of  Italian  Bronze. 

Exhibited  in  1908  at  the  Expositione 
d'Arte  Sacra  in  Venice. 


[24] 


Bronze  Figure. 

Representing  a  Gladiator.  Italian  XVI 
Century. 

From  the  Wm.  W.  Laffan  collection. 


[25] 


Bronze  Head 


Bronze  head  of  a  faun  in  cire  perdue. 
Italian  XVI  Century. 

y 


ENAMELS 
[26] 

Chasse. 

Limoges  champleve  enamel.  XIII  Cen- 
tury. In  the  form  of  a  house  with  a  tran- 
sept. It  is  modelled  on  four  square  feet 
and  surmounted  by  a  crest  in  openwork 
ornamented  with  balls  of  rock  crystal. 

The  whole  chasse  is  covered  with  an  en- 
velope of  brass,  engraved  and  gilded,  in 
which  are  set  cabochons  of  colored  glass. 

The  enamelled  plaques  represent,  in 
front:  The  Crucifixion,  the  Holy  Virgin, 
a  Holy  Woman,  St.  John  and  St.  Joseph 
of  Arimathia. 

In  the  back:  The  Resurrection,  the  Na- 
tivity, the  Angel  announcing  the  Birth  of 
Jesus  to  the  Shepherds,  The  Annuncia- 
tion, the  Visitation. 

On  the  sides,  St.  Peter  and  St.  Paul. 


From  the  Spitzer  collection. 


[27] 


Eucharistic  Dove  or  Colombe. 

Beautiful  specimen  of  Limoges  champ- 
leve  enamel  of  the  XIII  Century,  and  one 
of  the  rarest  pieces  of  this  period.  It  was 
exhibited  at  the  Paris  Exposition  Retros- 
pective of  French  Art  in  1900  (see  Cata- 
logue, page  88,  No.  2558). 

The  dove  is  one  of  the  most  ancient  eu- 
charistic vessels  and  was  usually  sus-  . 
pended  over  the  altar  in  the  churches  by 
chains. 

From  the  collection  of  Count  Chandon 
de  Briailles.  '  ^>n 


Small  Chasse. 

Limoges  champleve  enamel.  XIII  Cen- 
tury. Quadrilateral,  with  gable  top. 
On  the  front  is  a  representation  of  the 
murder  of  St.  Thomas  a  Becket,  Arch- 


[28] 


bishop  of  Canterbury,  with  his  entomb- 
ment shown  on  the  gable  above;  the  three 
figures  of  each  scene  being  of  engraved 
and  gilt  copper,  and  the  heads  in  relief. 
All  the  panels  are  filled  with  an  ornamen- 
tation of  rosettes,  bands  and  borders, 
and  on  the  back  with  a  geometrical  pat- 
tern, all  in  two  tints  of  blue,  red,  green 
and  yellow,  on  a  blue  ground.  The  gable 
top  has  a  high  pierced  cresting  with  three 
round  finials,  and  on  the  front  three 
applique  round  medallions  with  an  en- 
amelled ornamentation. 

[29] 

Plaque. 

Large  rectangular  Limoges  enamel 
plaque  representing  the  Crucifixion. 
Our  Lord  is  depicted  between  the  two 
thieves.  On  the  left  we  see  the  fainting 
Virgin  upheld  by  St.  John,  and  by  a 
Holy  Woman. 

On  the  right  are  two  men  on  horseback; 


one  of  them  in  full  armour  contemplates 
our  Lord.  This  figure  represents  Guy 
de  Montfaucon,  Chevalier  Seigneur  of 
St.  Masmin  and  of  Reydan  in  Bas-Poitou 
one  of  the  companions  of  Joan  of  Arc, 
who  was  killed  at  the  battle  of  Patay 
the  19th  of  June,  1429. 

His  coat  of  arms  represents  a  standing 
lion,  and  is  shown  at  the  right  angle  of 
the  plaque.  At  the  left  angle  of  the 
plaque  is  the  coat  of  arms  of  Marie 
Marbeau,  his  wife. 

By  Monvaerni.  XV  Century. 

From  the  J.  Pierpont  Morgan  collection. 

[  30  ] 

Plaque.. 

Large  plaque  of  Limoges  enamel  by 
Monvaerni.  XV  Century.  Represent- 
ing the  Nativity.  In  the  foreground  the 
Virgin,  in  a  blue  cloak,  is  kneeling  before 
the  stable  and  the  Infant  Jesus  is  lying 


in  the  folds  of  her  mantle  at  her  feet. 
Opposite  is  Joseph,  kneeling.  In  the 
background  some  children  are  playing; 
and  above,  two  angels  are  holding  scrolls 
with  inscriptions  in  their  hands. 


Plaque. 

Large  rectangular  plaque  of  Limoges 
enamel,  representing  the  entrance  of 
Jesus  Christ  into  Jerusalem.  Early  XVI 
Century. 

This  plaque  is  by  Nardon  Penicaud,  and 
is  one  of  the  finest  early  Limoges  enam- 
els known. 

From  the  Sigismond  Bardac  collection. 


Triptych. 

Limoges  enamel.  By  Nardon  Penicaud. 
Early  XVI  Century.   In  the  centre  is 


[31] 


[32] 


the  Crucifixion.  The  Holy  Women  are 
grouped  at  the  foot  of  the  Cross,  and  are 
surrounded  by  crowds  of  people  on 
horseback  and  on  foot. 

The  left  wing  represents  Our  Saviour  at 
the  Mount  of  Olives.  The  right  wing 
depicts  the  Betrayal  of  Christ  by  Judas 
Iscariot. 

This  triptych  was  exhibited  inthe  Paris 
Exposition  Retrospective  of  French  Art 
in  1900  (see  catalogue,  page  133,  No. 
2627). 

From  the  Michel  Boy  collection. 


Square  Limoges  Plaque. 

Representing  the  Holy  Virgin  and  one 
of  the  Shepherds  in  adoration  before  the 
Child  in  a  cradle. 

By  Nardon  Penicaud.  Early  XVI  Cen- 


[33] 


tury. 


[34] 

Large  Limoges  Plaque. 

A  wonderful  combination  of  eight  figures 
in  translucent  enamel  representing  the 
Entombment  of  our  Saviour. 

By  Jean  Penicaud  I.  Early  XVI  Cen- 
tury. /  -y  0 

[35] 

Twelve  Plaques. 

Representing  twelve  scenes  of  the  Pas- 
sion, after  twelve  engravings  by  Martin 
Schoengauer  (1430-1491). 

By  Jean  Penicaud  I.  Early  XVI  Cen- 
tury. 

From  the  Charles  Mannheim  collection. 

[  36  ]  y^fiL^L 

Plaque. 

Rectangular  plaque  of  Limoges  enamel, 
representing  The  Adoration  of  the  Magi . 

By  Jean  Courteys.  XVI  Century.  Signed 
I.  C. 

/ 


[37] 


Small  Square  Limoges  Plaque. 

Probably  by  Jean  Penicaud  III .  A  very 
fine  composition  of  the  XVI  Century. 

From  the  Sigismond  Bardac  collection. 
[  38  ] 

Limoges  Plaque. 

By  Pierre  Raymond.  Signed  P.  R.,  and 
dated  1534. 

This  plaque  represents  the  Virgin  stand- 
ing on  a  pedestal,  holding  the  Infant 
Jesus  in  her  arms;  over  her  dress  is  a 
flowing  mantle  held  at  the  upper  part 
by  angels;  both  on  her  right  and  left  are 
different  clerks  in  holy  orders,  kneeling, 
and  the  first  man  in  the  group  on  her  left 
is  certainly  the  donor  who  gave  the 
plaque  to  the  church. 

From  the  Sigismond  Bardac  collection. 


[39] 


Nine  Small  Square  Limoges  Plaques. 

Representing  nine  stations  of  the  cross. 
XVI  Century.  j ^  I 

I  40  ] 

A  Cup. 

Limoges.   XVI  Century.  By  Jean  Cour- 
tois  (Signed). 

Painted  with  the  high  priest  offering  gifts 
to  David. 

Black  border  with  gilt  scrolls. 
From  the  Spitzer  collection,  m 

[41  ] 

A  Cup. 

Limoges.  XVI  Century.  Painted  with 
the  Triumph  of  Amphitrite  in  the  fore- 
ground, and  a  mountain  landscape  in 
the  distance. 

Black  border  with  gilt  scrolls. 
From  the  Magniac  collection. 


r 


ITALIAN  FAIENCE 


[42] 

Vase. 

A  large  Caffaggiolo  vase,  about  1515. 
This  important  vase  is  of  globular  form 
with  two  spouts  and  a  handle,  decorated 
with  rinceaux,  vases  and  fantastic  ani- 
mals, painted  in  yellow,  blue,  and  violet 
on  an  ochre  background  and  with  four 
coats  of  arms  of  which  two  are  surround- 
ed by  large  cornucopias.  One  "coat  of 
arms  with  the  Imperial  eagle,  with  the 
Medici  coat  of  arms,  and  Imperial  crown 
on  top;  one  with  the  Medici  coat  of  arms 
and  a  Bishop's  hat  on  top;  one  with  the 
Chigi  coat  of  arms  and  a  Bishop's  hat 
on  top;  one  with  the  Moor's  head  and  a 
Cardinal's  hat  on  top.  On  the  spouts, 
the  Caffaggiolo  mark  in  blue,  a  P  and 
an  A. 

From  the  Madame  d'Yvon  and  Wencke 
collections. 


[43] 


Vase. 

A  large  Faenza  vase,  about  1536. 

This  vase  has  a  broad  handle,  with  a 
short,  rather  wide  neck.  It  is  painted 
in  cobalt  blue,  light  yellow,  brownish 
yellow  and  green,  and  represents  biblical 
and  symbolical  subjects.  After  Man- 
tegna.   Signed  by  Baldassare  Mar  ana. 

From  the  Castellani  and  Wencke  col- 
lections. 

[44] 

Plate. 

A  large  Urbino  plate.  XVI  Century. 

It  is  painted  in  yellow,  red,  blue,  green, 
red,  violet  and  black.  Various  groups  of 
male  and  female  figures  in  the  foreground 
surprised  by  a  heavenly  apparition;  in 
the  background  are  walls  of  a  city  with 
towers  and  church  spires. 


[45] 

Cup. 

Lustered  Gubbio  cup.  XVI  Century. 

By  Master  Giorgio.  Signed  and  dated 
1530. 

It  represents  Maternity  and  Love;  a  wo- 
man standing  next  to  a  column  watches 
a  young  girl  playing  with  Cupid. 

From  the  Wencke  collection. 

[46] 

Plate. 

Urbino  plate.  XVI  Century.  By  Nicolo 
da  Urbino. 

This  plate  has  large  borders.  In  the  cen- 
ter two  cupids  are  holding  the  coat  of 
arms  of  Gonzague  and  Este.  On  the 
border  in  a  landscape  is  represented  the 
history  of  Apollo  and  Marsyas. 

It  comes  from  a  service  executed  for 
Isabella  D'Este,  wife  of  Gianfrancesco 
Gonzague. 

From  the  Spitzer  and  Wencke  collections. 


[47] 

Bottles. 

Two  large  two-handled  Faenza  bottles. 
About  1550. 

Decorated  each  with  the  full  bust  portrait 
of  a  young  woman.  One  is  marked 
'ALVPVLOY',  the  other  'AMALVE.' 

From  the  Wencke  collection. 

STAINED  GLASS 

[  48  ] 

A  French  Stained  Glass  Panel. 

XIII  Century.  Representing  a  holy 
bishop  healing  a  sick  man  in  the  pre- 
sence of  two  Saints. 

From  the  Henry  Daguerre  collection. 
[  49  ] 

A  French  Stained  Glass  Panel. 

XIII    Century.    Representing  a  king 


listening  to  the  remonstrance  of  a  holy 
man.  With  an  inscription:-  'REX  SIC 
EXLMPIUM  POPULO  SUO.' 

From  the  Henry  Daguerre  collection. 

[50] 

A  French  Stained  Glass  Panel. 

XIV  Century.  Representing  a  design 
of  Gothic  crocketed  canopy  with  a 
praying  kneeling  figure  inserted. 

From  the  Henry  C.  Lawrence  collection. 

[51] 

A  Flemish  Stained  Glass  Panel. 

XV  Century,  representing  The  Holy 
Virgin  surrounded  by  Angels. 

From  the  Henry  C.  Lawrence  collection. 
[52] 

Stained  Glass  Window. 

From  the  Abbey  Church  of  Flavigny, 
Lorraine.  XVI  Century. 
The  initials  F  I  L  on  the  lowest  panel  are 
the  first  letters  of  the  motto  of  Warry 


de  Lucy  (21st  prior  of  Flavigny  1510— 
1557)  lFraus  inimica  lucV — 'Fraud  is  the 
enemy  of  light.'  The  author  of  this 
stained  glass,  Valentin  Bouch,  is  cele- 
brated and  it  is  impossible  to  find  a  piece 
better  authenticated,  as  the  church  in 
the  diocese  of  Toul,  which  enclosed  it 
during  four  centuries,  is  well  known  to  all 
archaeologians. 

[53] 

Panel. 

Old  Nuremberg  stained  glass,  year  1524. 
[54] 

Panel. 

A  companion  panel  to  the  above. 


» 


TAPESTRY 


[55] 

Flemish  Tapestry(Gothic). 

Early  XVI  Century.  Representing  a 
>  Pieta,  from  a  cartoon  by  Maitre  Philippe 
— a  high  loom  (haute  lisse)  woven  in 
colored  worsteds,  gold,  silver  and  silk 
threads  on  flax  warp. 

This  superb  tapestry  must  be  classed 
among  the  finest  productions  of  that 
eminently  successful  period  in  the  his- 
tory of  textile  art  in  Brussels,  which 
covers  the  latter  part  of  the  15th  century 
and  the  first-third  of  the  16th.  The  com- 
position is  replete  with  religious  feeling, 
and  charming  in  the  simplicity  of  its 
arrangement. 

[56] 

Tapestry. 

French.  XVI  Century.  Panel  of  a  series 
of  eight,  known  as  the  Gombault  et 
Macee  tapestries. 


FURNITURE 


[57] 

Chest. 

XVI  Century 'Cassone' or  marriage  chest. 
[58] 

Four  Church  Stalls. 

Carved  wood,  French  XVI  Century. 

[  59  ] 

Fire  Screen. 

Italian  Renaissance.  Chasuble. 

[60] 

Two  Armchairs. 

Venetian.  XVI  Century.  Carved  walnut. 
From  the  Wm.  M.  Laffan  collection. 

[61] 

Table. 

Ligurian  Walnut  Table,  rectangular 
shape.  XV  Century. 

From  the  Davanzati  Palace  collection. 


[62] 

Bench. 

Large  Florentine  Carved  Walnut  Bench 
XVI  Century. 

From  the  Davanzati  Palace  collection. 
[  63] 

Table. 


Florentine  Walnut  Draw  Table.  XVI 
Century. 

From  the  Davanzati  Palace  collection. 
[64] 

Cradle. 

Florentine  Walnut  Cradle.  XVI  Century. 
From  the  Davanzati  Palace  collection. 

[65] 

Chairs. 

Pair  of  Sixteenth  Century  Italian  Side 
Chairs  in  Walnut  with  coverings  of  em- 
broidered  red  velvet. 

[66] 

Table. 


Long  Table  in  carved  Walnut.  Italian 
XVI  Century. 


[67] 

Cupboard  or  Meuble  a  Deux  Corps. 

French,  middle  of  the  XVI  Century.  A 
fine  piece  of  work  of  the  school  of  Lyon, 
showing  the  style  of  Hugues  Sambin.  In  /  \  (f 
the  door  panels  are  very  fine  low  reliefs, 
showing  on  the  right  Tarquin  in  Roman 
warrior's  attire;  on  the  left,  Lucretia 
with  the  dagger. 

CEILING 

[68] 

The  Banquet  of  Antony  and  Cleopatra. 

The  scene  depicts  a  banquet  given  by 
Antony  and  Cleopatra,  who  with  other 
guests  are  seated  at  a  table  beneath  a  gal- 
lery which  is  supported  on  four  columns. 
In  this  gallery  musicians  are  playing.  On 
the  steps  leading  to  the  banquet-table 
numerous  figures  are  grouped. 

By  Giovanni  Battista  Tiepolo  (1692-1769) 


RUGS 


[69] 

Herat  Rug. 

Persian  XVI  Century.  An  important 
palace  rug  as  woven  under  the  reign  of 
Shah  Abbas  the  Great.  The  centre  field 
of  the  rug  with  a  small  green  medallion 
in  the  centre,  decorated  with  a  bold  de- 
sign of  Chinese  peony  flowers  and  spiral 
scroll  work,  intermingled  with  Chinese 
cloud  bands  on  a  deep  red  ground.  The 
main  border  with  alternating  huge  flow- 
ers on  deep  greenish  blue  ground. 

From  the  Fletcher  collection,  Scotland. 
32  ft.  53^  inches  x  14  ft.  3^  inch. 

0 

[  70  ] 

Animal  Rug. 

Eastern  Persia.  XVI  Century. 

An  important  specimen  probably  woven 
for  a  royal  palace.  The  centre  field  of 

? 


this  rug  is  covered  with  a  freely  composed 
pattern  of  animals  alternating  with 
peony  flowers  and  stems.  Among  the 
animals  the  rare  representation  of  the 
zebu,  combined  with  the  typical  groups 
of  fighting  animals  of  beautiful  design, 
The  background,  magenta  red.  Floral 
border  of  beautifully  elaborate  design. 

15  ft.  10  inches  x  6  ft.  7  inches. 

From  the  Charles  T.  Yerkes  collection 
(No.  207,  Color  plate  9  of  the  catalogue.) 

[  71  ] 

Herat  Rug. 

Persian.    Middle  XVI  Century. 

Beautifully  balanced  all  over  design  of 
repeated  peony  flowers  combined  with 
Chinese  scrolled  cloud  bands  on  a  red 
ground.  The  border  of  elaborate  peony 
design  on  a  greenish  blue  ground. 

6  ft.  8  inches  x  4  ft.  7  inches. 

Inn/ 


[72] 


Herat  Rug. 

Persian  XVI  Century. 

The  centre  field  with  particularly  delicate 
peony  flower  and  spiral  scroll  work  on 
red  ground.  The  border  of  similar 
design  on  a  green  ground. 

6  ft.  6  inches  x  4  ft.  6  inches. 


Herat  Rug. 

Persian.    Late  XVI  Century. 

Border  of  peony  flowers  alternating  with 
serrated  leaves;  dark  green  ground. 
Very  large  centre  field  of  exceptionally 
beautiful  design,  of  peony  flowers  sur- 
rounded by  Chinese  cloud  bands.  Red 
ground . 

9  ft.  2  inches  x  4  ft.  10  inches. 


Herat  Rug. 

Persian.  Second  half  of  the  XVI  Cen- 
tury. 


[73] 


[74] 


The  centre  field  with  four  symbolical 
groups  of  peony  flowers  arranged  with 
the  Chinese  cloud  band  on  a  red  ground. 
The  border  of  elegantly  curved  serrated 
leaves  alternating  with  peony  flowers  on 
a  green  ground. 

6  ft.  8  inches  x  4  ft.  8  inches. 


Herat  Rug. 

Persian.  Early  XVI  Century. 

The  centre  field  decorated  with  a  system 
of  peony  flowers  of  very  elaborate  and 
beautiful  design  on  spiral  scrolls  com- 
bined with  voluted  Chinese  clouds  on  a 
red  ground.  The  border  of  similar  design 
on  a  dark  blue  ground. 


[75] 


15  ftf  x  6  ft.  3  inches. 


ANTIQUE  BRONZES 


[76] 

Chinese  Temple  Wine  Cistern. 

An  interesting  and  rare  bronze  of  the 
Chou  dynasty,  B.C.  1122-225. 

[77] 

Castellani  Collection  of  Greek  and 
Etruscan  Bronzes. 

Excavated  by  Castellani  himself  near 
Perugia,  Italy.  The  'Hypnos'  now  in 
the  British  Museum  was  found  in  the 
same  tomb  and  at  the  same  time  as  the 
pieces  in  this  collection. 


E,  HODGKINS 
NEW  YORK 


